CommentaryGrindler became known in the 1970’s for his theatre posters. Distinctive in his posters was generally the photomontage. Their images were sometimes lavishly staged and then composited. The results were stylish iconography related to reality but so estranged that any relation disappears behind the unreal of the montage. This surprise, often only appearing at second glace, provides his posters their particular appeal and the considerable attractiveness. The Othello-poster for a dance presentation by the choreographer Ismael Ivo was, however, made differently. A number of screens (for a screen print) were made from a black and white photo with each enlargement varying slightly. Printing on top of one another in different colors, they created ›colored shadows‹ reminiscent of motion blur.

Grindler became known in the 1970’s for his theatre posters. Distinctive in his posters was generally the photomontage. Their images were sometimes lavishly staged and then composited. The results were stylish iconography related to reality but so estranged that any relation disappears behind the unreal of the montage. This surprise, often only appearing at second glace, provides his posters their particular appeal and the considerable attractiveness. The Othello-poster for a dance presentation by the choreographer Ismael Ivo was, however, made differently. A number of screens (for a screen print) were made from a black and white photo with each enlargement varying slightly. Printing on top of one another in different colors, they created ›colored shadows‹ reminiscent of motion blur.